A south-of-the-border Gone With the Wind by one of Mexico's bestselling authors (Mexican Bolero, 1990) describes a spirited girl's love affairs played out against the backdrop of the 1911 revolution—with all the quirky trappings of magic realism and a few postmodern asides as well. Borrowing freely from the mannerisms of Gabriel Garc°a MÖrquez and Laura Esquivel, Mastretta casts a beguiling spell. In a series of loopy thumbnail biographies and quickly sketched scenes, he describes the Cuenca and Sauri families and the progressive, artistic, and Europeanized society of Puebla that they belong to. When young Emilia Sauri pushes snotty Daniel Cuenca into a pond and then jumps in after, we know that one day they'll be tearing at each other's clothes in overheated desire—which they do, with great regularity, as the revolution looms, explodes into war, succeeds, then tragically fails to change anything. But while Daniel grows up to be a revolutionary, Emilia apprentices in medicine with his father, which leaves them poles apart—a pattern echoed in the relationship between Emilia's mother, Josefa, whose world revolves around love, and her sister, Milagros, for whom justice is the soul's rallying cry. Jealous of Daniel's other mistress—politics—Emilia nearly marries the wonderful Dr. Antonio Zavalza, then leaps to join Daniel as he makes plans and plots with various generals, including Zapata and Villa, whose ragtag armies she ministers to. In the end, she refuses to choose at all, living with the doctor, entertaining amorous visits from Daniel, and having many children—by whom? It all feels very much as if arranged by an author determined to have life conform to desire. Vivid, with a knack for memorable aphorism and magical detail, yet curiously unmoving at its ``lovesick'' heart, this is one epic that, with good casting, may play better on the screen than on the page. (Author tour)
Pub Date: April 1, 1997
ISBN: 1-57322-062-0
Page Count: 304
Publisher: Riverhead
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 1997
BOOK REVIEW
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
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